Study Celestine Marlowe

Study Celestine Marlowe. Your breathing technique is already very good. To improve further, you need to learn from her. I will tell you later how to master her breathing technique

I once told you that your method of maintaining abdominal breath and gently pressing the breath downward while singing is correct, but it is not 100% perfect. My ideal way of producing sound—today I give the example of the soprano Celestine Marlowe (a name I invented)—how is it? Is it the same as your method? No! This is the perfect breathing technique for singing. Compared with the traditional “abdominal breathing,” Marlowe’s breath control is more complex and profound. Her breathing is not merely the movement of air; rather, through deep contraction and expansion of the lower abdomen, the base of the spine, and the pelvic floor, she mobilizes the strength of her entire body to support vocal production.

This kind of breath management requires a high degree of bodily control and conscious engagement, allowing her voice to remain stable and sustained in both the high and low registers.

So the most perfect breathing technique is not gently pressing the breath downward, but letting the voice float upon the field of breath. Her voice is not pressed out, nor squeezed out, nor pushed out—it is the fusion of breath and inner emotion within the body, floating outward from within. We should learn her breathing technique.

This is the most perfect approach.

Now I ask you: How can one integrate singing breath with inner emotion? No one can answer this—perhaps only I can. Emotion must be carried by the breath. In history, no one has said this before—only me.

And note: it is not emotion carried by the voice. When historical vocal teachers said “emotion is carried by the voice,” it shows they did not truly understand singing.

What I mean is: just learn from Marlowe. Why is her breathing, tone production, and vibrato placement different from most others? I think you could discuss and study this with your teacher.